In this interview feature, we get to know the most radicalist up and coming stars on the planet.

This time we got to know California-based coldwave synth-pop sensation Black Marble.

Emerging for the first time back in 2012, Black Marble has been the longtime moniker of synthesizer enthusiast Chris Stewart. Fuelled by his penchant for the brooding post-punk melodies of Joy Division, namely their infamous bass player Peter Hook, Black Marble's icy synth-pop has gained a cult following over the last 7 years. Having released albums in the past via Seattle Sub Pop offshoot Hardly Art and electronic indie label Ghostly International, Black Marble signed a deal with one of our favourite label's Sacred Bones earlier this year in preparation for his new album Bigger Than Life. With its accomplished singles including 'One Eye Open', 'Feels' and 'Private Show' winning us over with their meticulous production and beautifully melancholy atmosphere, 'Bigger Than Life' arrived just a matter of weeks ago and we couldn't wait to find out more. 

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TMR: Black Marble has predominantly been a solo project, with your old bandmate Ty Kube only being mentioned on your debut EP 'The Weight Against the Door' back in 2012. Do you prefer to work alone now, or do you miss having another set of ears to bounce ideas off of?

I wrote the entire 1st record by myself in my room. Ty was going through a breakup while I was writing it and I’m pretty sure I didn’t see him a single time during it. I’m used to doing everything myself as its the way I’ve always done it. I did appreciate his ear when it was time to listen, but I pretty much trust that what Im making is what I should be making.

TMR: 'Bigger Than Life' is actually your third album, but it's your first with Sacred Bones, who, as you'll know, have put out some brilliant music over the last few years. What has it been like working with them?

It’s been great, I still have great relationships with the other labels I’ve worked with. Its mostly timing issues that kept me from working with other labels from the past. Sacred bones is particularly adept at talking to artists in the way they’d like to be talked to. They seem to have it in their DNA that they’re going to do things with the artist’s wishes and intention first in mind. I have a clear vision of what I want to do and they seem to what to just help their artist’s be their best selves and get their music out there. It might be a case by case basis because every artist is diferent, but I really appreciate the way its been working with them.  Hopefully they feel like Ive been easy to work with as well.

TMR: Exploded View, Jenny Hval and obviously Black Marble have been sitting amongst some of our recent faves on their roster. Were there any particular artists that lured you in or made you feel at home on the label?

It’s less the individual artists and more what they all seem to have in common which is a clear sense of what they want to put out into the world. Sacred Bones has a savvy in finding these people and facilitating them reaching a wider audience. You never get a sense that they’re floundering around trying to figure out what the next big thing will be. They have a clear vision of what works for them, and they seem to work with artists who feel the same.

TMR: It goes without saying that synthesizers are a huge part of your sound. Have you always had an interest in exploring that world and how were you first introduced to them?

Ty my old bandmate, years before the band began, was one of the first people I knew who seemed to like synthesizers as a thing on its own. That’s when I started to realize there was a style and an ethos around being into synths. At the time you couldn’t go to guitar center and buy modular synths. If you were into synths it was because you liked the idea of these old archeological finds from a bygone era that were temperamental but had a certain charm to them. They helped a certain aesthetic emerge based on the simplicity of the instruments - which allowed for people who might not be musically adept to express themselves.  Also, at the time these things were fairly inexpensive to unearth second-hand.  I just related to the whole idea of them as being kind of punk in a way…I don’t think this culture around them exists as much anymore, but I still relate to them in that way.



TMR: Are there any specific pieces of equipment that played a crucial role in the making of 'Bigger Than Life' and if so would you mind telling us what they are?

The Oberheim Matrix 1000 and the Roland MKS50 were the most frequently used synthesizers on this record.

TMR: We fell in love with Bigger Than Life's lead track 'One Eye Open' when it was released back in July, do you have any personal favorite tracks on the album that'd you'd be willing to share with us?

I like them all for different reasons, It’s like asking me to name my favorite child lol!

TMR: We'd love to know more about the recording process behind the album in general if that's ok with you?

I wrote all the songs on my MPC and sequenced all the parts live. The last couple years of touring I noticed I was seeing QSC monitors a lot in the venues I played so I went and I bought a pair and put them in my studio. As I wrote Bigger Than Life instead of tracking it on my computer using small studio monitors I wrote it live on my MPC and used the QSC for playback so I would get a sense for how it would sound in a club as I was writing it.

TMR: The videos for your recent singles appear more like snippets of films than typical music videos. We particularly enjoyed the video for 'Private Show', which happens to be the only one you appear in yourself. Do you enjoy getting involved in the visual aspect of being a recording artist?

I was a visual artists before I was a musician. I went to school for film, video, graphic design, took painting class and figure drawing. I make all my album artwork. Sometimes I work with outside photographers but I’m always carefully selecting the art if I’m not making it myself even down to the tape cases/cd jackets etc. I think it’s important to have a hand in all that stuff as it has such a strong influence on how all your music is perceived and even the way that you’re perceived as a person.



TMR: Aside from music, do you have any other passions or hobbies that might surprise people?

I like playing dice for money.

TMR: If you could create the perfect the perfect environment to listen to Black Marble in what would it be?

A teenager’s bedroom in a London tenement apartment tower.

TMR: As a blog specialising in new music emerging talent, could you tip us off about any fresh artists that have caught your attention recently?

Automatic Jennifer Vanilla Jimmy Whispers Rikki Crack Cloud



TMR: Finally, it's time to ask what your plans are for what's left of the year and going forward into 2020?

After thanksgiving I’m going to chip away on the next record for a month and a half then go to Europe for a month. Then I’ll be working on the album for another month and a half, then I have a west coast tour in the US. I’m hoping by the summer to have another album done so touring and writing is all I’m doing… Occasionally sleeping… eating…texting.

Catch Black Marble live in the UK at any of the following dates:

02.2 UK Bristol The Crofter's Rights 03.2 UK Manchester Soup Kitchen 04.2 UK Glasgow Broadcast 05.2 UK Sheffield Record Junkee 06.2 UK London Studio 9294

-Holly Mullineaux